As I write this article in the last days of March, at least 50 congregations have already preordered the new hymnal (or decided to do so), sometimes also with a quantity of the psalter. In contrast, a few people have asked how they can be expected to consider purchasing something they haven’t yet had a chance to thoroughly review. I’ll speak to that a bit later. But first some thoughts about my assumptions and some comments from the earliest adopters.

Not every congregation

Pressure and anticipation for a new hymnal in 2021 is simply not as high as it was in 1993. So leaders from both the hymnal project and NPH recognize that adoption will likely be at a different pace than the rapid and almost universal adoption of CW93 in the mid-1990s. And that’s perfectly fine. No one is saying that all good synodical team players should quickly jump on board.

Further complicating decisions is a year of pandemic. So here, again, is a comment from the September 2020 WTL: “Hymnal project leaders recognize that not every congregation will want to or be able to adopt the new hymnal in 2021. Reasons include COVID uncertainties, tightened budgets, and uncertain futures. This article isn’t meant to ignore those realities but only to encourage review and planning in whatever way seems appropriate.”

But as many as possible

Granting that not every congregation will adopt the new hymnal in 2021, there still is benefit in many doing so—benefit to the congregations, not merely to the success of the project.

A few years ago, the Commission on Worship and its consultants were busy with Schools of Worship Enrichment. Over 12 years we served 291 congregations, coast to coast, large and small, young and old, growing and declining. Those who served these weekend events noticed two contrasting challenges to implementing a vision of creative, flexible, and satisfying liturgical worship. The obvious challenge came from some who wondered if we needed to abandon a liturgical format and heritage hymns to reach or retain the people we want to serve. The less obvious challenge came from those who seemed content with varying degrees of uncreative and inflexible implementations of liturgical worship. It’s not surprising that some would want “something more” than that approach to worship.

The resources were always there for enriching Lutheran worship with alternate canticles and new hymns in varied musical styles accompanied by instruments far more diverse than the solo organ that commonly led worship. But many pastors and musicians didn’t have the vision or ability to implement this “enriched Lutheran worship.”¹

Now the new hymnal suite richly provides options that can help both of the challenges described above—as well as support congregations without either challenge. The church that prefers an ensemble to an organ (or both in rotation on different weekends) will find the music they need for two musical settings of the primary Sunday service. Same for many hymns. A church that formerly relied mostly on organ, whose musicians lacked time or ability to involve other instruments, will find a wealth of resources.

Such options reinforce a healthy bias that project director Michael Schultz mentioned in the previous article in this series: “I am strongly biased toward having the congregation predominantly (not exclusively) sing the hymns, psalms, and ritual songs that have been curated and published by our church body.”² In the past such a bias might have been heard to support a narrow musical bandwidth that wouldn’t be labeled flexible and creative. That was never the intent. But now the new hymnal suite makes it far easier to implement goals of flexibility and creativity.

So I urge “as many as possible” with conviction that it’s good for congregations across a synod to share a worship philosophy and core worship resources.

It’s good for congregations across a synod to share a worship philosophy and core worship resources.

NPH and the Commission on Worship

These two synodical entities have different if complementary roles. NPH is a business and a ministry, your ministry partner. From them you have received promotional materials and a preorder option. They sell products at price points that enable them to continue serving in their role.

The Commission on Worship is not a business but only a ministry partner concerned with many aspects of worship enrichment. One of the biggest opportunities for worship enrichment comes along only every 30-40 years: the release of a new hymnal. So communications from the C/W will share introductory resources and urge adoption of the new hymnal. We do this not from a business perspective but purely from a ministry perspective.

Comments from earliest adopters

To assist congregations that have not yet ordered the new hymnal, I polled some that have already ordered and asked three questions. Various answers are included below with the hope that they might be helpful to other congregations. The congregations represented are from all over the country and range in average attendance from 38 to 560. State abbreviations follow most comments.

How did you build consensus to make an early decision, long before able to review the pew edition and other volumes?

We started early singing songs we understood would be included and made a point of telling people the song would be part of the new hymnal. We talked about it in our leadership meetings and with the congregation that this was just what we do: new hymnal comes out, and so we will be using the new hymnal. People were looking forward to new songs and sounds, so it was a fairly easy sell. ~SC

There wasn’t much of a debate as to whether we would adopt the new hymnal. We participated in multiple field tests for the hymnal, plus the congregation was aware of the work I was doing on the Scripture Committee. We already have ordered hymnals and psalters to put in the pew racks (enough to make sure we meet the minimum for the Service Builder discount). We also plan to subscribe to the Service Builder. The only item that caused some discussion was the number of physical hymnals to order, since we have for a long time printed the entire service (hymns included) in the service folder. However, the combination of needing to purchase a certain number for the Service Builder discount and the understanding that having physical hymnals in pews for people to look at and use in addition to the service folder is valuable for members and guests alike made that discussion rather brief. ~KY

How much longer do we need to wait?

Our two pastors and staff minister decided early on they wanted to purchase the whole shebang, and took it to our elders, and it was easily approved. We are paying for it mostly with memorial money that was donated specifically for this purpose. As I’m sure is the case with many congregations, we removed all our old hymnals from the pews for COVID-related reasons, which will make the physical transition even easier! We’re also going to open it up to any members who want to personally purchase anything, and add their orders to our one big church order. I feel everyone at our church has been really open to the switch! ~WI

The process for building a consensus to make an early decision began more than ten years ago. We are liturgical in our worship style but have adopted any number of songs and services over the years to introduce new formats. For Advent and Lenten services, for example, we started with Compline 2, found a version of Psalm 91 that we liked better, and mixed and matched a couple of other elements and/or changed pieces for one year along the way. The people like these services, so it isn’t hard for them to be excited about a new hymnal which will facilitate trying some additional new services. ~MI

Our decision was never really a struggle. The congregation has a long history of making use of the musical resources that the synod makes available. Our people here have embraced many of the hymns and liturgies from the supplement, and are already familiar with many of the Getty tunes that will appear in the new hymnal. For our congregation, it wasn’t ever really a question of “Will we choose to get the new hymnal?” but “How much longer do we need to wait?” ~GA

What was your funding process? Budgetary over two years, plus special gifts, or what?

Purchasing the new hymnal was part of our five-year plan. We had little discussion. 47 out of 100 hymnals are paid for as of early March with the methodology pictured above. Strictly special gifts. Many of the other books have also been purchased for the church. ~IL

We started at least two years in advance by setting aside $2000 in our ministry plan and then made it part of our special projects list. (We share this list with people who want to make a special donation or give a memorial.) We had planned to use a special “buy a hymnal” drive this year, but a member gave a large gift as a memorial and covered the cost. Another member recently contacted me to offer to pay for the new hymnal and other volumes. So in our case, it was just something people were drawn to support. Blessed! ~SC

We were going to do “combination of budget/congregational gifts” over this year. But someone was very blessed in the recent stock market run-up and came in wanting to make a gift and paid for the first batch of hymnals/psalter/resources in one shot. So, I was able to say at elders, “Well, this is the cost I’d ask you to approve…and please know that it is already paid for…” which made the decision easier. They would have said yes anyway, but they also simply assume (as I think our council does) that our synod is putting out a new hymnal and a) we’ve been using some of those resources already and b) we’d of course just go along and adopt it. ~WI

Please know that it is already paid for.

We had talked about “every member buy two,” one for them and one for the pew. Decided not to go that route as we’ve received gifts already of $9,000 for it without it even being advertised outside of Elders/Council. We are all in to the tune of about $12,000. ~WI

A few years ago a member left a gift to the congregation in his estate. He had a deep love for worship music. We used a portion of his estate to purchase a grand piano. When the hymnal’s budget planning worksheet was made available, the council realized that the remaining portion of the gift would cover the cost of the new hymnals. At the same time, we do plan on inviting people to use the offering envelopes to make a special gift to the hymnals in the expectation that we can stretch our worship budget a bit further yet. ~GA

Are you ordering the psalter? If so, for pews or just choir?

We are ordering 25 copies to start for choir and small group use. We plan on purchasing 300 hymnals for the sanctuary and choir. We will subscribe to Service Builder and purchase multiple copies of the hymn and liturgy accompaniment books. We will purchase 30 copies of the psalter for the choir. ~MN

Any other unique stories that would provide interest for the article or quotes from members?

Nothing really unique, except our people are very excited. ~TX

Our worship committee was very excited to see the wealth of materials available at a substantially lower cost than first anticipated. We had committed early on to books in the pews for a number of reasons; the pricing structure made that a no-brainer from an economic standpoint, as well. ~WI

There is a bit of frustration expressed in that there are a number of TBD items and details connected with the new Christian Worship. Yet, I know the project is very ambitious in its scope and timetable for publication.³ ~MN

The pricing structure made books in the pews a no-brainer.

The National Conference on Lutheran Leadership [January 2020] was an incredible help. We were able to bring five members of the congregation, including our office administrator and two council members. We all left the conference deeply impressed with every aspect of the hymnal showcased there: the support volumes, the Service Builder, and above all, the worship services. It allowed those members to be strong early advocates for the hymnal. ~GA

It’s been decided we will gift all our organists/pianists with their own copies of all the accompaniment books (we have six accompanists), which I thought was super generous of the leadership. ~WI

We all left the conference deeply impressed with every aspect of the hymnal showcased there.

We look forward to many instrumental parts already prepared. I play trumpet, we have an occasional violinist, a couple of guitar players, some hand drums, a flute, a penny-whistle player, if you can believe that, and some other people we are trying to get involved with occasionally playing a piece. Pre-transposed pieces and other various options are exciting to the special music people who are looking forward to getting their hands on these resources.⁴ ~MI

At Trinity, Waukesha, we are at an advantage since we’ve been almost exclusively using new service music, hymns, psalms, etc. for all our services since Advent (Year C, one year ahead of other WELS congregations to help prepare planning resources for other churches next year).⁵ There have been many positive comments on the new hymns, revised texts, and service music. ~WI

Confidence in the project

Now, back to a question posed in the first paragraph: how can a congregation consider purchasing something they haven’t yet had a chance to thoroughly review? Perhaps the comments above from diverse congregations around the country can help to answer the question.

Another confidence-building factor is the caliber of those serving on the hymnal project’s Executive Committee. It has been a highlight of my almost 40 years in the ministry to work with these men, people with both sound theological grounding and practical parish experience. It is a testimony to the confidence that our synod can rightly have in this committee that one member was a seminary professor, two others accepted calls to the seminary during the project, two others have declined calls to the seminary, and two others have served as professors or administrators at synodical schools. Furthermore, every word in the new hymnal has been scrutinized by a doctrinal review process.

In closing I emphasize again that the hymnal project recognizes that congregations are in different places as far as decisions and timelines. This article doesn’t intend to lobby but to provide perspectives from the congregations cited. Still, whether you preorder soon or don’t even think about the new hymnal this year, we hope that eventually the vast majority of congregations will adopt the new hymnal just as we did in the years following 1993.

By Bryan Gerlach

Pastor Gerlach, a member of the hymnal project Executive Committee, has served as Director of the Commission on Worship since 1996. Previously he served parishes in El Paso, TX, and Citrus Heights, CA. He regularly plays organ and piano in two Milwaukee-area churches.

As far as the funding process goes, this is the announcement we’ve been running in our bulletin.

Pass on the Legacy with Our New Hymnal

If you could make an investment that would positively impact someone for at least 30 years, wouldn’t you want to do that? You have that opportunity with the release of our new hymnal. Christian Worship will be released for the fall of 2021. This new hymnal will be the staple of Eastside’s worship for the next generation. Combining the best from past traditions with the best from current resources, Christian Worship keeps the gospel at the heart of our worship, kindling the joy of worship on every page. To fit our congregation’s needs, we need 400 hymnals. That’s a $9600 investment. We’ve enjoyed the benefits of our hymnal for the past 30 years. Wouldn’t you like to be part of this new 30-year investment? Could you prayerfully consider donating one hymnal to Eastside for each member of your family? Think of the impact you can make! If you have any questions, please speak with Pastor Berg.

By early March, we’ve raised over $8000 of $9600. That’s without any special drive. Those are just individual gifts above and beyond regular offerings. As of right now, we are only ordering a few copies of the psalter. But if we receive more than $9600, we will order copies of the psalter for choir use. ~WI

¹ This is not a careless and unfounded generalization. Survey data from those 291 SoWE congregations clearly supports the observation.
² “A Wealth of Accompaniment Options,” March 2021. Back issues are available at worship.welsrc.net.
³ Most of 20 resources are coming out at the same time in the fall of 2021. Compare that to the years following 1993 when only the hymnal and manual were released. The Handbook came out in 1997, the Altar Book in 1999, Occasional Services and Pastor’s Companion in 2004.
⁴ Instrumental parts with transpositions will be provided by CW: Musician’s Resource.
⁵ The hymnal project director is a member of this church. The planning resource mentioned will be released in summer. For a detailed analysis of this church’s needs, see “Trinity Hymnals,” a supplemental online doc at the link in note 2.

New at christianworship.com

“Why a New Hymnal?” This bulletin insert is newly added to a ZIP of other bulletin inserts. It came about from a pastor’s request for something very simple as opposed to “visit the website.” It may be useful to share before a decision-making group meets or simply to build interest for the arrival of the new hymnal. Find it in the Publicity Toolkit link under Resources.

“The Wedding Rite in the New Christian Worship” – an article by Prof. Jonathan Micheel from the Spring 2021 issue of Wisconsin Lutheran Quarterly.

Coming later this year: a variety of introductory videos useful not only for evaluating and understanding hymnal project choices but also for exploring and using various resources.

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Church acoustics consultant Scott Riedel is in the habit of saying that an ideal geometric shape for a worship space looks like a shoe box turned on its side. Horizontally it has a definite long and short axis, and vertically it has enough ceiling height to provide a proper reverberation. Carpet is minimal, if not absent. If newer, the floor might be tile or finished concrete; if older, it likely is hardwood planks. I’ve been in a few sanctuaries like that, including the one I first frequented as a young child. Today, when I take a seat in a live acoustic space like that, I look forward to enjoying one thing in particular—you can hear the people sing.

Liturgical ensembles

These days, more often than was the case a decade or longer ago, the seat I take in the worship space is occasionally a 24” high, four-legged stool. A guitar is on my lap and a music stand in front of me. Nearby are an amp, a piano, and a mic stand or two for the cantor(s). I occasionally play with the ensemble at Trinity Lutheran in Waukesha, WI, or I’m on the road for a conference or Bible class, sampling psalms, hymns, and ritual music from the new hymnal resources.

Years ago, it was rare for me to participate from my four-legged stool. While serving as a parish pastor for 24 years, my guitars and amp most often stayed at home. Part of that was for personal reasons. I had no desire to “feature myself” as far as playing guitar for worship. Nor were either of the two congregations I served necessarily ready for that kind of instrumentation. They had been in “organ-only” mode for virtually all of their existence. Piano was not used for congregational singing, and I would still say that, in most cases, a single acoustic guitar, even when amplified, is not well-suited to lead congregational singing.

But there was another issue, one that Don Chapman (hymncharts.com) wrote about: “In 2002, as a new music director at a church plant, people in my congregation were complaining that I wasn’t including hymns in my praise sets. I wasn’t including them because back in those days, there weren’t any! So I started arranging my own.” I don’t have raw data to cite, but anecdotally, I get the impression that two to three decades ago, Lutheran musicians who played instruments other than the organ were in some cases channeled toward commercial Christian arrangements, in great part because those were the only arrangements available for their instruments. There were, of course, a few hymns found in Lutheran hymnals, known by Lutheran worshipers, sung across a broader swath of Christianity, and arranged for ensemble instruments. But twenty years ago, just a few.

The scope of this article does not cover the difference between commercial worship songs and familiar hymns. But if it did, a key point would be the difference between songs that are more suited to trained singers and hymns that can be sung by the whole assembly. I, of course, have a bias, and it’s not just against worship songs that tend to be more soloistic and in favor of hymns that are familiar and were written for group singing. I am strongly biased toward having the congregation predominantly (not exclusively) sing the hymns, psalms, and ritual songs that have been curated and published by our church body.

I am strongly biased toward having the congregation predominantly (not exclusively) sing the hymns, psalms, and ritual songs that have been curated and published by our church body.

In recent decades, that’s where the rub has been. Liturgical ensemble arrangements of “our” materials have not been available in any kind of abundance at all. By no fault of its own, our publishing house has not published individual hymns arranged for a liturgical ensemble. In the past, the few resources in this genre were typically found in collections in which some titles would not be found in our hymnal. Such a small supply of resources can, of course, result in the same kind of overboard repetition that some Lutheran congregations have run into with non-Lutheran arrangements—twenty songs that get repeated every six or seven weeks. I hope that’s not an inaccurate caricature; it’s what I have heard that some of our congregations have discovered. Oddly enough, it’s the very same thing that congregations can run into when using liturgical ensemble arrangements of our curated and published materials—there isn’t enough to go around, i.e., to go around a whole church year’s worth of worship planning.

The new hymnal project will change that. And that’s not just because we think it’s a good idea to balance organ-led services with piano/guitar/ensemble-led services. That’s not just to put to good use the skills of the pianist/guitarist/instrumentalist the Lord has brought into our membership (though we certainly want to be good stewards of such gifts). That’s not just because some think that the ensemble can sound more upbeat or because they subjectively prefer it over the organ (and why wouldn’t we want to keep them happy?). No, our plan to provide a wealth of curated materials for a liturgical ensemble is because God’s grace in Christ has made us want our sacrifice of praise to be the best it can be.

One element of “best” can be objectively defined. Can you hear the people sing?

With organ music, the servant on the bench needs a keen sensitivity toward the interrelated items of organ registration, worship space acoustics, number of people in the sanctuary, intended mood of the service, and worshipers’ familiarity with the materials that are on the musical docket. All of that and more will come under consideration as the organist goes about his or her task of supporting the song of the assembly. It’s no different when the liturgical ensemble is providing the worship music. Sufficient rehearsal, congregational cueing (especially for introductions or inter-stanza turnarounds), dynamics governed by number of worshipers present, attaining the proper mix through the soundboard, mic levels and overall volume level of amplified voices and instruments properly adjusted, small ensemble or large—there are plenty of things to look out for. But one consideration rises to the top of the list: can you hear the people sing? The Lord has good hearing. Be it barely audible or raising the roof, he will always hear the praise of his people. The question to ask is, “Can the people hear each other?”

Can the people hear each other?

Whether you bring together two musicians or ten in an ensemble, share with them that our goal is to let the people’s song be heard, because that’s where the general scripture truths and the specific gospel message reside—in the lyrics of the assembly’s song. Instrumentalists need sensitivity to volume control and willingness to be a team player (aka, trusting the sound tech to get the mix right). Cantors need to understand (and also the congregation by educating them on this point) that they are not singing primarily to the assembly or for the assembly but along with the assembly. Instrumentalists and vocalists serve to strengthen the assembly’s song.

So back to the opening paragraph of this article. I’m in a sacred space where music is going to lift the life-giving gospel around the room, direct it into ears, and anchor it in believing hearts. I look forward to hearing a room full of people singing the gospel. To pull this off with an organ, there are pallets and pallets of music to enliven the pipes and fill the room with the godly music of saints and angels. God be praised for that! Three volumes of our new hymnal products (Accompaniment for Hymns, Accompaniment for the Psalter, Accompaniment for Services) will bring together an abundance of those organ arrangements for the hymns, psalms, and rites we have compiled. By comparison, rather than pallets and pallets, it seems we may have not much more than a partial filing cabinet drawer of arrangements for the liturgical ensemble. Let’s see what we can do to address this situation.

Accompaniment Editions

As you may have noticed from mock-ups at christianworship.com, the accompaniment editions are 8.5×11, portrait orientation, spiral-bound. For the most part, they contain only keyboard arrangements. In a number of cases, however, there are both organ settings and piano settings. For a majority of the hymns that were originally written for piano, an idiomatic organ or general keyboard arrangement was added. For some of the hymns that are regularly played on organ, an idiomatic piano arrangement was added. (See below about many more piano arrangements, along with auxiliary instrument arrangements, available in CW: Musician’s Resource [CW:MR]).

In addition to upscaling and reformatting the pew edition hymns to fit on a letter-sized page (which, incidentally, make the music easier to read for some), many of the hymns in Accompaniment for Hymns have multiple keyboard settings: alternate key; alternate setting; modulation to a festive final stanza; soloed organ setting; alternate piano or organ arrangement. For a total of 683 hymns (656 in the pew edition and 27 appearing only in CW: Service Builder), Accompaniment for Hymns offers an additional 447 auxiliary keyboard settings of the various types just mentioned. Similarly, Christian Worship: Psalter includes 470 musical settings of the 150 psalms. The Accompaniment for the Psalter offers 93 additional keyboard settings. Some of the piano arrangements in these accompaniment editions will have corresponding instrument files in CW:MR.

Besides accompaniments for the lectionary psalms that appear in the front of the hymnal pew edition, Accompaniment for Services includes the keyboard scores for all of the ritual music. This includes The Service: Settings 1-3, Morning Prayer, Evening Prayer, and Compline. Settings 2 and 3 of The Service and the Compline setting have both a complete organ setting and a complete piano setting. The piano arrangements of Setting 2 (Mass of Creation by Marty Haugen) are simplified piano arrangements, intended to make the piano setting accessible to the vast majority of pianists. More complex arrangements will be available in CW:MR. Auxiliary brass/timpani arrangements for the organ setting and auxiliary ensemble arrangements for the piano versions of Settings 2 and 3 will be available in CW:MR. Additional settings of The Service, available only in Service Builder, will be similarly resourced with organ and piano settings and auxiliary instrument files available in CW:MR.

Accompaniment for Hymns offers an additional 447 auxiliary keyboard settings of various types.

Additionally, a greatly expanded aspect of ritual music in the new hymnal suite of materials is the music of the Gospel Acclamation. (See a sample at christianworship.com/resources in the “look inside” section.) Formerly called the Verse of the Day, the Gospel Acclamation consists of an opening and closing alleluia refrain with a seasonal or proper verse of the day in the middle. Accompaniment for Services provides 230 pages of Gospel Acclamation music. Each of the three settings of The Service has its own Gospel Acclamation setting, and there are an additional 21 Gospel Acclamation settings for the entire church year. All of these acclamations are written for general keyboard (organ or piano). Some acclamations use additional instruments. For example, Irish Alleluia, published by GIA and arranged by Richard Proulx, has a version for organ, brass, and timpani, but it can be performed just as well with piano, guitar, and other instruments. A 7×10 spiral bound edition (Christian Worship: Gospel Acclamations—Cantor’s Edition) will be available for presiding ministers, cantors, choir members, and instrumentalists. (This edition allows users to avoid illegally copying the keyboard edition for singers and other musicians.)

Musician’s Resource

Most of the music for the liturgical ensemble will reside in Christian Worship: Musician’s Resource. The NPH website will add a section dedicated solely to searching for, reviewing, and purchasing auxiliary keyboard and instrumental music that supports the hymnal and psalter. Thousands of pages of music will be available at this location.

For example, the most basic liturgical ensemble is a piano accompaniment with another instrument playing the melody. If that other instrument is a clarinet or trumpet, additional music is needed since these are pitched at B-flat rather than C. To match keyboard music, trumpet music has to be raised a whole step. If the keyboard music is in F Major, the trumpet part must be in in G Major. We have already done the foundational work on over 500 hymns, so that the various instruments which play at different pitches have a musical score to work with the pew edition setting of the hymns. Each SATB hymn ends up with 16 pages of transpositions. That means we already have 8000 pages of instrument transpositions for the pew edition hymn settings.

But most of the Musician’s Resource is comprised of arrangements that go beyond the pew edition settings. Not always but most frequently, the liturgical ensemble is looking for music that has been arranged with other instruments in mind, not just “SATB hymnal versions.” The Musician’s Resource will include a variety of these resources: vocal descants; instrumental descants; lead sheets; alternate choral stanzas; alternate harmonizations; full modern arrangements; modulations (transitioning to a higher key for a festive final stanza; roughly 5% of the hymns in Accompaniment for Hymns have such an optional modulation).

More often than not, the liturgical ensemble is looking for full modern arrangements. One strong advantage of these arrangements is how they can fit almost any size ensemble. These arrangements may have parts for eight different instruments, but they also work if you have only piano and guitar. We are aiming to offer a full modern arrangement for every hymn, and eventually more than one. Since CW:MR will be a living resource, we can continue to add to it long after the hymnal has launched in the fall of 2021.

Christian Worship: Supplement (2008) included Divine Service II, a service that made use of metrical canticles. These are songs of the liturgy where the text has been recast as rhymed verse and the tune is that of a familiar hymn. Christian Worship: Service Builder will include several dozen metrical canticles for those who wish to build such a service. Our goal is to arrange also these metrical canticle hymn tunes for liturgical ensembles. Such arrangements can, of course, serve double duty for both a hymn text and a metrical canticle.

We use the term liturgical ensemble because the ensemble is supporting the congregation as the congregation participates in the liturgy.

Looking forward

Liturgical worship makes use of the church year with its appointed lectionary and propers, it has a regular celebration of the Sacrament of the Altar, and it follows a historic order which includes the ancient texts of several songs that tell the story of our deliverance through Christ. We use the term liturgical ensemble because the ensemble is supporting the congregation as the congregation participates in the liturgy. The ensemble may consist of anywhere from two to ten or more instrumentalists and anywhere from one to four or more cantors. So the term liturgical helps establish some healthy parameters: this is a group that assists the assembly in singing the ritual music (canticles), the Psalm of the Day, the Gospel Acclamation, the Hymn of the Day, and other selected hymns.

It would sadden me if I were writing this article solely because there might seem to be a trend toward piano/guitar/instrument ensembles and away from organ accompaniment. With a fitting registration, the organ does a magnificent job of supporting the song of the assembly. The many organ resources that are queued up for our new hymnal will continue this fine heritage. I wholeheartedly support both organ accompaniment and ensemble accompaniment. I also do not hesitate to say that we need and are preparing more resources for the latter. I look forward to having a six-stringed instrument on my lap and an abundance of music on the stand before me, composed for a liturgical ensemble. I look forward to accompaniment editions and a Musician’s Resource that put those ensemble scores in front of a host of WELS instrumentalists, affording them the high privilege of leading God’s people in song.

And soaring high above all that music, I most look forward to hearing assembled voices clearly singing that Jesus Christ is the LORD, Our Righteousness (Jer. 23:26).

By Michael Schultz

Pastor Schultz has served congregations in Flagstaff, AZ and Lawrenceville, GA. He chaired the hymns subcommittee for Christian Worship: Supplement, compiled its guitar edition, and currently serves as project director for the new WELS Hymnal Project. As a member of Trinity, Waukesha, WI, he plays guitar for worship and occasionally preaches.

A small liturgical ensemble (pictured above) provided music for a COVID-era Easter service recorded in the seminary chapel. That video is still available here: https://wels.net/together-at-the-empty-tomb-this-easter. The socially distanced musicians performed in an empty chapel without a congregation present.

Another excellent companion video to the topic of this issue is at welscongregationalservices.net/worship-led-by-a-modern-ensemble. Some of the new songs and arrangements in both videos are included in the new hymnal project.

Correction

The printed version of the previous issue, Worship and Outreach, was missing its second paragraph. Please reference the online version at worship.welsrc.net if this issue is used for group discussion or in a Bible class setting.

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“This hymnal won’t just benefit your congregation’s worship. It will also benefit your congregation’s outreach.” Without the ability to go back in time and scan every piece of publicity produced, I would imagine a claim like that was seldom made in advance of the 1993 publication of Christian Worship: A Lutheran Hymnal. At the time, the latest iteration of the megachurch movement was just starting to pick up steam. Churches like Rick Warren’s Saddleback and Bill Hybels’ Willow Creek were still in their infancy. Andy Stanley’s Northpoint had not yet been founded. Rick Warren’s Purpose Driven Church and Sally Morgenthaler’s Worship Evangelism, both influential in the “worship as evangelism” movement, had not yet been published.

As our church body prepares to publish its next hymnal, I’m confident I’m not the first one to say this nor will I be the last: This hymnal won’t just benefit your congregation’s worship. It will also benefit your congregation’s outreach.

What I mean by that, however, might surprise you. The primary benefit this hymnal provides to a congregation’s outreach efforts has nothing to do with the time during which the hymnal is actually in use. It has nothing to do with what happens in that sacred space we call a sanctuary and that sacred hour we call a service. The primary way this worship resource will also benefit a congregation’s outreach has very little to do with worship, and that’s probably how it has to be. Let me explain.

From “Seekers” to “Nones”

There was a time when, due to various factors both spiritual and societal, a considerable portion of our country’s population could be described as “looking for a church.” They likely identified as religious, even Christian. They did not attend services regularly and/or had not committed to a specific church home, but they would be willing to do both assuming they found the right church. They have often been referred to as “seekers.”

To whatever degree and during whatever period of time that was true, most would agree that it is no longer true today. James Emery White has thoroughly chronicled the rise of the religiously unaffiliated, a group often referred to as “nones.”¹ In 2020, “nones” comprise almost a quarter (22.8%) of the population according to the Pew Research Center.

Many of these religiously unaffiliated Americans are now raising members of Generation Z. Generation Z, also referred to as iGen, consists of people born between 1995 and 2010. As you might imagine, a generation raised by people who are increasingly religiously unaffiliated will be likely to have no strong connection to religion themselves. Jean Twenge points out that, while about a quarter of the overall population is religiously unaffiliated, a full third of young adults (ages 18-24) fell into that category already in 2015.²

A “none” is the opposite of a “seeker.” It’s not that they don’t believe in God. It’s not that they are hostile to religion. They simply have no strong feelings about either. In a May 2003 article in the Atlantic, Jonathan Rauch made famous a term to describe this mindset: apatheism. He wrote, “Apatheism—a disinclination to care all that much about one’s own religion, and an even stronger disinclination to care about other people’s.”

As one might imagine, the decline of “seekers” and the rise of “nones,” has had an impact on the way Christian churches view the connection between worship and outreach. In a world full of “seekers,” worship and outreach work together in services that are “seeker-friendly.” James K. A. Smith summarizes such an approach this way: “If the church was going to feel welcoming, it needed to feel familiar, accessible, and ‘cool,’ characterized by the sorts of professional experiences people associated with consumer transactions together with the thrilling enjoyment of a concert. The seeker-sensitive church would feel like the mall, the concert, and Starbucks all rolled into one—because those are places that people like, where they feel comfortable.”³

Jared Wilson calls these attractional churches. He points out the increasing naivete of such an approach in today’s world: “As cultural Christianity fades, so does the potential customer base for attractional churches.” Wilson predicts that the attractional church will “slowly grow further out of touch with the surrounding culture” by “assuming its neighborhoods are looking for church, but different; religion, but relevant; Christianity, but cool.…”⁴

As a result of this cultural shift, our weekly services will likely bring us into contact with fewer and fewer people for the first time. Whether that service is publicized as “casual, relevant, and engaging” or “rooted, reverent, and transcendent” will make little difference to an apatheist. Rather than designing our gatherings to bring people in, more and more we will need to disperse from those gatherings and seek people out. Pastors and laypeople will need to invest in relationships with the people around them, build trust by demonstrating genuine love and concern, and look for opportunities to share the gospel.

The tools and resources provided … allow pastors to get out of their offices to spend more time engaging people with the gospel and equipping their members to do the same.

That’s the primary reason I say what I’m saying: This hymnal won’t just benefit your congregation’s worship. It will also benefit your congregation’s outreach. The tools and resources provided don’t just allow congregations to do more in worship. They allow congregations to do it with less time and effort. They facilitate and streamline many of the time-consuming mechanics of worship planning and preparation. They allow pastors to get out of their offices to spend more time engaging people with the gospel and equipping their members to do the same.

In a world of “nones” rather than “seekers,” that’s inevitably where more and more gospel conversations will have to take place. In the end, that’s probably a good thing. When we are faithfully reaching out with the gospel the way our world needs us to, we won’t feel the burden of trying to design our worship to do outreach for us. As Wilson observes, “You don’t have to treat the worship services like a coffee shop conversation if you’re actually engaged in coffee shop conversations with unbelievers.”⁵

“You don’t have to treat the worship services like a coffee shop conversation if you’re actually engaged in coffee shop conversations with unbelievers.”

What If They Actually Show Up?

But what happens when someone actually shows up? We might be tempted to think that worship that follows a historic, liturgical structure will feel increasingly foreign in a world that continues to drift from any discernible Christian moorings. That might be true, but that might not be an entirely bad thing.

As we become more aware of some of the effects of “life as we know it” in our modern, technology-driven world, many of the effects we are starting to observe are quite disturbing. On the one hand, our technology allows us to interact with people all over the world in staggering numbers. However, those virtual interactions are poor substitutes for the full, rich relationships God created us to enjoy. Our connections increase exponentially, but true intimacy is a scarce commodity. Loneliness and isolation are on the rise. Cal Newport makes this comparison: “Much in the same way that the ‘innovation’ of highly processed foods in the mid-twentieth century led to a global health crisis, the unintended side effects of digital communication tools—a sort of social fast food—are proving to be similarly worrisome.”⁶

In addition to connecting us to a staggering number of people, technology connects us to a staggering amount of information. As a result, however, the task of separating what is important from what is trivial, much less what is true from what is false, becomes staggeringly difficult. A single platform, YouTube, hosts both the pastor’s sermon from last Sunday and the “Charlie Bit My Finger” video (and the latter, not the former, briefly held the title of being YouTube’s most-watched video of all time). A single platform, Facebook or Twitter, delivers sourced, verified news from trusted media outlets and every conspiracy theory under the sun. A single pipeline, my email inbox, delivers announcements from my church and my children’s school and scam requests from Nigerian princes who need my bank account information. Alan Noble points out the effect that the information age can have on our ability to identify what is important: “Our frenetic and flattened culture is not conducive to wrestling with thick ideas, ideas with depth, complexity, and personal implications.”⁷

Finally, our device-driven world may be the greatest reflection and reinforcement of a post-Enlightenment, “brains on a stick,” view of humanity. Smith describes that view this way: “We view our bodies as (at best!) extraneous, temporary vehicles for trucking around our souls or ‘minds,’ which are where all the real action takes place.”⁸ We often operate as if every problem is caused by ignorance and solved by information. Content is king, and our devices deliver it in virtually limitless supply. The more time we spend with our screens and inside our own heads, the more detached we are from God’s physical creation around us.

It shouldn’t surprise us that these same problems can find their way into worship if it is designed to mirror “life as we know it.” The same forces that so easily isolate members of the human race even as they are superficially connected are quite good at atomizing the body of Christ. Noble argues: “Part of the challenge of contemporary services is that our focus is directed to the stage rather than to one another. Volume levels rarely allow us to hear ourselves clearly, and certainly not our neighbors. The result is that we experience worship much like we experience a concert. It becomes an individual, emotional, and spiritual exercise wherein I try my best to think about the words and praise God. But even though I am surrounded by the saints, I remain comfortably in my own head.”⁹

The same technologies that deliver limitless information, entertainment, and advertising to us can easily be used to deliver content to worshipers. When the same media and platforms that deliver the trivial and the untrue are also used to deliver the gospel, however, the difference between these things is flattened. Noble observes, “We’ve tried to communicate the gospel with cultural tools that are used to promote preferences, not transcendent, exclusive truths. We see [these trends] at work in high-production church services that feel more like a concert and a TED Talk than a sacred event.”¹⁰

It should not come as a surprise that the same young people who are most inundated by the content delivered by our devices are the most disinterested when similar media are used to deliver the gospel. Wilson observes, “From Gen Y on down, generally speaking, those interested in local expressions of Christian community are less and less interested in programmatic, consumeristic approaches to spirituality. This is somewhat counterintuitive, because younger generations tend to be the ones most readily embracing technology and innovation. But the issue is not the use of technology or innovating new ideas; it is the lack of authenticity they sense in an overproduced spirituality. They tend to respond negatively to pop-song covers, movie-clip illustrations, and cheeky sermon series titles.”¹¹

Finally, when the same forms and media that pump endless information into our heads are utilized in worship, the same “brains on a stick” view of humanity reinforced by so much of life can also be reinforced by our worship. Worship can give the impression that every spiritual problem is caused by ignorance and every spiritual solution is information. Noble argues: “Our church services (especially in evangelicalism) involve less liturgy, less focus on bodily participation, and greater emphasis on disengaged reason…. We have made communion with God a thing that happens inside our heads, not with our whole selves, including our bodies.”¹² The pandemic of 2020 has been a revealing experience in this regard. As churches were forced to close their doors and go exclusively online for a time, it became evident how many people concluded that a service delivered in their home through a screen was in no way inferior to one experienced in person with other Christians—and how many churches seem to have concluded the same thing.

Perhaps the real opportunity presented by modern life is to highlight and excel at the features of historic, liturgical worship that offer people respite from what is comfortable and familiar.

Rather than engaging people with the gospel using forms that mirror what people already find comfortable and familiar, perhaps the real opportunity presented by modern life is to highlight and excel at the features of historic, liturgical worship that offer people respite from what is comfortable and familiar. At its best, liturgical Lutheran worship is a truly communal exercise where the proclamation of the gospel is carried out not just by the experts or professionals up front but by the person sitting to my left and to my right. At its best, liturgical Lutheran worship conveys the fact that something important is going on during the hour between invocation and benediction. It delivers the palpable gravity the gospel deserves. First time guests may walk out our doors using a variety of words to describe a liturgical Lutheran service. “Trite” is not likely to be one of them. At its best, liturgical Lutheran worship takes disembodied minds and reorients them to the physical world God created, redeemed, and will one day glorify. It engages their senses and involves their bodies. It aims not just to fill their heads but to move their hearts with the flesh-and-blood saving acts of the Son of Man and the bathing-and-feasting sacred acts he instituted. Rather than trying to fill up the outward shell of “life as we know it” with the gospel, Lutheran liturgical worship delivers the gospel within a shell that can give people a taste of “life as it was meant to be.”

In other words, “strange” and “foreign” might actually be valuable features of Lutheran worship rather than flaws. Talking specifically about reaching today’s youth, Smith observes, “These strange historic rites of the church catholic serve to reenchant the world for those immersed in our secular, disenchanted age…. The very similarity we wanted in order to keep young people entertained is precisely what makes them suspicious that there’s nothing really transcendent going on here.”¹³

Historic, liturgical worship will not do a congregation’s outreach for it. In a world full of more “nones” and fewer “seekers,” no worship style will. However, a Lutheran congregation can be confident that Christ-centered, liturgical worship will support, not stunt, outreach efforts aimed at taking the gospel to the people of its community rather than waiting for them to come to it.

One Thing’s Still Needed

In the meantime, the realization that our worship can’t do our outreach for us will enable us to keep our eyes squarely on the bullseye we are aiming for in worship, namely, to let the gospel have center stage. If more and more people are living without the gospel, more and more people are living with the consequences of life without the gospel. More and more people are looking not just for a little help to improve some facet of their lives. They are looking for something that can adequately serve as the foundation for their lives. They are in search of an identity and a sense of worth. They are looking for unconditional approval and belonging. They are in desperate need of a solution for their guilt and shame. They need what the Bible calls righteousness. Even secular anthropologists are noting how much this search drives human behavior. Jonathan Haidt writes, “An obsession with righteousness (leading inevitably to self-righteousness) is the normal human condition. It is a feature of our design, not a bug or error that crept into minds that would otherwise be objective and rational.”¹⁴

The gospel is not just what someone needs in order to go to heaven some day. The gospel is what someone needs in order to get through each day. “It is the chief article for a reason. Not only is this the chief article on which the Church stands or falls…, but this is also the chief article on which individuals stand or fall. Restless hearts and anxious minds find peace in justification. Frenetic lives of self-justification have rest in the salvation of Jesus Christ.”¹⁵

The gospel is the one thing people need most both for heaven and earth. It is the one thing needed by both the first-time worship guest and the lifelong Christian. And more than anything else, liturgical Lutheran worship is designed to proclaim the gospel. Our rites tell the basic gospel story weekly. Our calendar of readings puts tissue on that gospel skeleton by repeating the works and words of Jesus annually. Our heritage of hymns aims gospel truths and gospel events squarely at people’s hearts by setting them to poetry and music. Lutheran worship brims with the gospel. Lutheran worship is above all else Christian worship. It was Christian worship in 1993. It will remain Christian worship in 2021 and beyond.

By Jonathan Bauer

Since 2014 Pastor Bauer has served at Good News Lutheran Church in Mt. Horeb, Wisconsin, a growing suburb of Madison. Good News is a mission congregation that was started in 2013. In addition to his service at Good News, he is a member of the Institute for Worship and Outreach and the WELS Hymnal Project’s Executive Committee.

More on Worship and Outreach

An interview at christianworship.com (under the link For Worshipers) offers additional thoughts on worship and outreach. The interview is moderated by Eric Roecker, WELS Director for Evangelism, and features Jon Bauer, Caleb Bassett, and Jon Schroeder. The interview and this article—along with other interviews, articles, and videos—can be recommended for advance viewing and reading for a leadership group or open forum that discusses the new hymnal.

¹ See James Emery White, The Rise of the Nones (Grand Rapids: Baker, 2014).
² Jean Twenge, iGen (New York: Atria, 2017), p. 121.
³ James K.A. Smith, You Are What You Love (Grand Rapids: Brazos, 2015), p. 103.
⁴ Jared Wilson, The Gospel-Driven Church (Grand Rapids: Zondervan, 2019), p. 34.
⁵ Ibid, pp. 95-96
⁶ Cal Newport, Digital Minimalism (New York: Portfolio/Penguin, 2019), p. 136.
⁷ Alan Noble, Disruptive Witness (Downers Grove: InterVarsity, 2018), p. 24.
⁸ Smith, You Are What You Love, p. 3
⁹ Noble, Disruptive Witness, pp. 137-138.
¹⁰ Ibid, p. 122.
¹¹ Wilson, The Gospel-Driven Church, p. 30.
¹² Noble, Disruptive Witness, p. 130
¹³ Smith, You Are What You Love, p. 148.
¹⁴ Jonathan Haidt, The Righteous Mind (New York: Pantheon, 2012), xii.
¹⁵ Gene Edward Veith and A. Trevor Sutton, Authentic Christianity (St. Louis: Concordia, 2017), p. 98.

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There Is Room in the Choir

Hymn selection criteria and variety

Every fall throughout my ministry, it has interested me to see who would come out of the woodwork to join the choir and who would continue to opt for a pew downstairs. A musician in my first parish was a National Endowment for the Arts scholar. He received that prestigious award to study jazz at New York City University. He never missed church, but his gigs often kept him up to the wee hours of the morning—ensuring a late service attendance. Consequently, the most musically gifted man in the parish never joined the choir.

A quiet, private woman with a thick Spanish accent from Guatemala did. Her background was not in jazz, but in costume design. She was never at the center of conversations in the commons. But in the soprano section, she sang Bach, Getty, and Gerhardt with all her heart. A man with a post-doctoral degree in organic chemistry joined too. He sang bass. His profession was pharmaceuticals. His passion was singing. A hard-working delivery driver usually sat next to him. The choir was always a fascinating blend of the family of believers—young and old, white and blue-collar, life-long WELS, and brand new to the faith. There is room in the choir for all of these people and more!

This cross-section of the faithful on earth is a miniscule, yet precious, sample of the heavenly choir. There, the music will always be in tune. There, the labor of long days and longer nights will not keep us away. There, the harmony will be perfection—a symphony of praise to the Savior: “Then I heard every creature in heaven and on earth and under the earth and on the sea, and all that is in them, singing: “To him who sits on the throne and to the Lamb be praise and honor and glory and power, forever and ever!” To quote the Christmas hymn, “Oh, that we were there!”

Do you ever wonder what that will sound like? Everyone dreams of heaven just a little differently. What will it look like? What will our reunion with loved ones be like? What will our bodies be like once they are unchained from the shackles of sin and decay? For me, I often dream about the sound. This comprehensive, heavenly music, what style will it be? Will we recognize it? Scripture obviously does not give us the answer. What it does give us, however, is a template—of sorts—for what the Church’s music can strive to be on earth: Comprehensive in scope, Christ-centered in content.

Comprehensive in scope, Christ-centered in content.

Think of our new hymnal as a “choir” of sorts. Specifically, a choir that has 683 members. Unlike an eager choir of musical novices, each and every member of this choir had to pass a rigorous tryout with at least six separate stages of text and tune analysis and development. 15,000 hymns tried out for a seat in the ensemble. 683 made the cut. Why such an exacting process? Because scriptural truth and stewardship of musical treasure demand a bar that is deliberately set high. This choir, after all, will sing, teach, and impart Christian truth to the Church! It will do so for hundreds of thousands of people, in thousands of weekly services, in dozens of countries, states, and territories, over the next thirty years.

15,000 hymns tried out for a seat in the ensemble. 683 made the cut.

These rigorous standards for membership in the choir were already embedded in the Hymnody Committee’s “Hymn Criteria List” that was unanimously adopted by the Executive Committee and guided hymn tryouts for the next five years. To be included, a hymn must…

1. be Christocentric.
2. be in harmony with the scriptural faith as confessed in the Lutheran Book of Concord. (Especially, but not restricted to, means of grace focus, justification centered, law/gospel dichotomy, receptive view of worship, proclamatory/didactic function of hymnody, etc.)
5. be superlative examples of their genre in regard to both textual content and musical craft.

An exceptional choir is made up of top-shelf talent. Many members of the choir may indeed be—in and of themselves—musical standouts. But a choir of musical standouts is a choir that will quickly standout as unpleasant to listen to! A choir is not a choir of soloists doing their own thing. A choir seeks blend and balance across all members and sections. The many seek to present themselves as a united voice.

Profound theologians who won’t wow you with esoteric knowledge.

So too, our hymnal is a book for the many—not just the standout musicians of the congregation who are usually called upon to sing the solos. It is meant not primarily for the members of a band, but for the band of believers that sit in the pews of the church, the desks of a classroom, and the comfy chairs of the living room. Many of the members of our new hymnal’s choir are profound theologians, but they won’t wow you with esoteric knowledge that is meaningless to most. Many of these hymns have sung in the grandest buildings of Christendom, but they will never refuse an opportunity to sing at bedsides and sickbeds too! The members of our new hymnal’s choir are not musical specialists. Their pictures are not hanging on the wall of a museum. Instead, they have been sung by multitudes of God’s people over the years and, therefore, the hymnody committee is convinced, will continue to be sung by multitudes for years to come. (This assumes, of course, leaders and parents willing to invest the effort to teach them to members and children!)

That’s why your hymnody committee spent six years of their lives painstakingly looking for hymns that would…

6. be accessible and meaningful for God’s people at worship in both public and private settings.
7. be useful for those who preach and teach the faith.
8. be part of a corpus that will find wide acceptance by the vast majority of our fellowship.

A good choir has a certain knack for singing a wide repertory of music—and does so convincingly. Thirty years ago, I had the experience of sitting in on a rehearsal for a community choir in Annweiler, Germany. They sang the songs of their homeland in a wonderful way. I smiled hard, however, when they began to sing a spiritual, “Hush. Hush. Somebody’s callin’ my name.” Buxtehude himself could not have sung it more squarely! But they tried. But as they sang, a little bit of our American experience was experienced in the rolling woods of the German Palatinate, and the audience loved it.

The choir of our new hymnal has been very deliberate in casting a wide net for members that are our very own from Lutheranism’s heartland and members that will become our very own from around the world. Looking back, several more of Paul Gerhardt’s children will be in the choir. Looking forward, many hymns by newer talents from Getty Music will sing as well. The new choir will sing the seasons of Christ’s life that are unfolded in the seasons of the church year with a distinct expertise. We will hear much that resonates with the various seasons of our lives. It is impossible for one book to be a one-stop resource for every ethnicity and culture. But the law of Christian love and the doctrine of the holy Christian church caused us to be deliberately inclusive of the nations, tribes, people, and languages with whom we will sing in the heavenly choir.

That’s why we invested thousands of hours of time and effort in recruiting choir members that would…

3. be rooted in the Church year with its emphases on the life of Christ and the Christian’s life in Christ.
4. be drawn from classic Lutheran sources and deliberately inclusive of the Church’s broader song (including so-called international or global music).

The choir in my first parish was a wonderful cross section of the congregation, which, in turn, was a good representation of our community. Demographics are of interest to church leaders as they make plans to find the lost and strengthen the found. What do the demographics of the hymnal choir look like? They look much like a church that is both deliberately rooted and reaching.

An important group of hymns that predate the Lutheran Reformation serve as an important reminder that we are no cult! We are a continuation of the one, holy Christian and apostolic Church. It may be of interest to know that the ancient hymn, “O, Come, O, Come, Emmanuel” was the most sung hymn in WELS in our data. Not surprisingly, a significant number of the members in the hymnal choir sing with a decidedly German accent. WELS members will be pleased to hear that we invested significant effort into helping our German friends improve their English by means of fresh translations! When appropriate, we also dressed some of them up in a tune that was a little less continental.

We invested significant effort into helping our German friends improve their English.

Germany fought two world wars with the English and Americans. But in the hymnal choir, they all get along wonderfully well. The hymns of England and America are well-represented. Almost 100 members come from the British Isles. They come from soaring cathedrals and pleasant meadows. Roughly 50 members sing not the Queen’s English but with an American accent. Our American experience—folk, revival, and spiritual—is well-represented.

Our hymnal choir is well-represented by the elderly members that we love and cherish! But what is different about this choir is the number of youth that have joined! The Hymns Committee gave tryouts to literally hundreds of hymns and contemporary songs with a fresh, modern sound. “Fresh,” “young,” “contemporary,” and “modern” are words that mean many different things to different people. No matter what your definition, as you page through the hymnal, you will notice about 10% of the faces will fall into those categories. They have not yet stood the test of time. But they have been properly vetted. Their talent holds promise for a long and fruitful future. It is our hope that Gerhardt and Getty will make beautiful harmony in the choir for years to come.

What is different about this choir is the number of youth that have joined!

Rounding out the membership in the choir, one sees faces from the Islands, Africa, and Latin America. They hold an important place in the choir. Their inclusion will help us all remember that vision of heaven’s choir—a vision that is desperately needed in an age where racial harmony has often spiraled into a sinful cacophony! We are all members of the body of Christ. If for only that reason, they need to be represented in this hymnbook.

This brief demographic survey shows that we have a hymnal that is decidedly rooted in the Lutheran tradition, but is certainly trending younger and younger. This has always been the Lutheran Church’s way!

Perhaps the best way, however, to get to know a choir is to stop talking about the different members and simply listen to them sing. We will get to know this choir best by attending a concert or two. So what’s on the program? A useful program has been compiled titled, Christian Worship: Hymn Preview. (See the sidebar.) This preview highlights 54 hymns. Each of these hymns illustrate the concepts that led to inclusion in the choir. It is a program that will be certain to impress, no matter what expectations you bring with you.

You became immersed in the gospel of Jesus Christ in all of its multifaceted beauty!

Take some quality time to read or even sing the preview in its entirety. You can’t judge a book by its cover, nor should you. You certainly shouldn’t judge a book based upon what other people have said. Experience the hymns for yourself, lots of them. Experience them with an open mind and open ears. Let your preview serve as a prelude to a renewed appreciation for, fascination with, and commitment to Christian hymnody. You might sit down at this concert thinking you will just experience a choir. Instead, you will become immersed in the gospel of Jesus Christ in all of its multifaceted beauty!

Page through the preview. Look at all the hymns—each of them is unique. “Lift Up Your Heads” has gone on a diet and looks lovely in her new tune. “Dawning Light of Our Salvation” is one of the younger members of the choir. Her composers were youth confirmation age when our current hymnal was published in 1993. “Come, Thou Long Expected Jesus” sings in a section with about 22 other American folk tunes. (Spoiler alert: “Thou” is not an accident in her title. A careful read will reveal a bit of bias in bringing back some thee’s and thou’s in the “new” hymnal. This choice reflects common usage among American Christians in 2020.) In the Christmas section, can you hear some familiar carols that weren’t part of the CW93 choir? The preview contains a carol from Poland (“Infant Holy, Infant Lowly”), one from England (“God Rest You Merry, Gentlemen”), and one from France (“Love Has Come”). Finally, a member with a widely-recorded voice rounds out the Christmas section, “Joy Has Dawned” by Getty and Townend. In just these first several hymns, one already sees a Christ-centered cross-section of old and new from the Old World as well as the New.

A Christ-centered cross-section of old and new from the Old World as well as the New.

And WELS will be blessed. Grandmas and grandpas will be blessed as they continue to sing their old favorites and teach them to their children’s children. The children will be blessed by a gospel heritage in song that has now come to them. The 683 singers in CW21 will be with us for thirty years. How wonderful to know that they will gladly serve as they always have: spreading the good news, teaching the truth that sets us free, inviting the lost, strengthening the found, encouraging the living, and comforting the dying. Until…

Until we join the hosts that cry,
“Hosanna to the Lord most high.”
Then in the light of that blest place
We shall behold you face to face. (CW93 230:3)

By Aaron Christie

Aaron Christie began service this year at Wisconsin Lutheran Seminary where he is Professor of Worship and Homiletics and Dean of Chapel. When he served as the chair of the hymnal project’s Hymnody Committee, he was pastor at Trinity, Waukesha, WI. In addition to his training as a pastor he holds the Master of Church Music degree from Concordia University Wisconsin. He has served the synod at large as a member of the Commission on Worship and the Institute for Worship and Outreach and as a presenter for the Schools of Worship Enrichment.

More New Hymnal Information

Several new items are available at christianworship.com. A new article under the Resources link, What’s New, gives quick access to all the new content. Christian Worship: Hymn Preview shares 54 of the approximately 200 new hymns planned for the new hymnal. Each hymn is accompanied by a brief comment on its origin, spiritual meaning, usage in the wider Christian church, or other interesting detail. Some samples from Christian Worship: Accompaniment for Hymns are included—options for both piano and organ. CW: Hymn Preview is available only as a viewable (not printable) PDF. This is due to restrictions placed by copyright holders.

The following chart shows the new items available.

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